who have great capacity of expression, together with a mind uncommonly refined and susceptible. In them every shade of thought and feeling is clearly and beautifully traced in the countenance. While this is the result of education of the muscles of expression, an education of which the individual is for the most part unconscious, no direct attempt in the training of these muscles will succeed unless the mind itself be of the right character. Awkwardness of expression, arising from habit, may be counteracted by judicious physical training, but intelligence and kindness can not be made to beam from the countenance if they do not emanate from the moving spirit within. They are often awkwardly counterfeited, the one by the bustling air assumed by the face of the shallow pretender, and the other by the smirk of him who smiles only to get favor or profit from others. On the other hand, not only will those evil and malignant passions, which are of a decidedly marked expression, leave their permanent traces in the countenance, but coarse feelings and brutal instincts write their images there also, and nothing but a thorough change of character can possibly efface them. We must therefore begin with the mind and the heart, if we would educate the countenance to the higher expressions of beauty. Some of the most striking exemplifications of the influence of the mind and heart upon the expressions of the countenance are to be seen in those institutions where juvenile outcasts from society are redeemed from their degradation by the hand of benevolence. The progress of the mental and moral cultivation may often be traced, from week to week, and sometimes. from day to day, in the changing lineaments of the face, as lively intelligence takes the place of stolid indifference, and refined sentiment that of brutal passion. Sometimes a few weeks suffice to change the whole character of the expression in the faces of the young. The dull eye becomes bright, not from any change in the eye itself, but from the intelligence and sentiment that now play upon the muscles in its neighborhood. But where passions have been making their impress on the countenance during a long course of years, so that the features become fixed in the prevailing expression, the traces are not so easily removed. The habitual expression of the countenance, depending as it does upon the habitual condition of the muscles, is seen after death. In the state of relaxation which immediately occurs at death, the face is inexpressive, because its muscles are, together with those of the whole body, so entirely relaxed. But very soon they begin to contract, and, as they assume that degree of contraction to which they were habituated during life, they give to the countenance its habitual expression. It is when this has taken place- when the muscles, recovering from the relaxation of the death-hour, resume their accustomed attitude, as we may express it, that the countenance of our friend appears so natural to us, and we are held, as if by a charm, gazing upon the intelligence and affection beaming there amid the awful stillness of death, till it seems as if those lips must have language. And this expression is retained. through all the period of rigidity, till it is dissolved by the relaxation which succeeds this state and ushers in the process of decay. It is thus that the soul, as it takes its flight, leaves its impress upon the noblest part of its tabernacle of flesh; and it is not effaced till the last vestige of life is gone, and the laws of dead matter take possession of the body. Questions: What is a muscle? When is a face in repose? Is beauty of countenance necessary for elegance of muscular expression? Name three persons, saints, who, though exceedingly mild and kind, were not handsome in countenance. How do children scquire awkward facial expression? What persons acquire great control over the muscles of expression? What must be done to mind and heart, that the countenance may be educated to express beauty? What is said of the change in countenances of children who are daily improving in conduct? What is remarked of the faces of the dead? How long does "the old, familiar look" remain on features of the dead? Adelaide Ann Proctor, born in 1825; died in 1864. She became a convert to the Catholic faith in 1853. Like Mrs. Hemans, her poems have enjoyed a wide popularity on account of their Christian elevation of sentiment, their sympathy with the feelings of the heart, and their grace and melody of expression. The "Legend of Bregenz;" "The Tomb in Ghent;" "The Angel of Death;" "The Doubting Heart,' and "One by One" are among the best known of her verses. WHERE are the swallows fled? Frozen and dead, Perchance upon some bleak and story shore. Far o'er the purple seas, They wait, in sunny ease, The balmy southern breeze, To waft them to their northern home once more. Why must the flowers die? In the cold tomb, heedless of tears or rain. O doubting heart! They only sleep below The soft, white, ermine snow, While winter winds shall blow, To breathe and smile upon you soon again.. The sun has hid his rays Will dreary hours never leave the earth? The stormy clouds on high Veil the same sunny sky, That soon (for spring is nigh) Shall wake the summer into golden mirth. Fair hope is dead, and light Is quenched in night; What sound can break the silence of despair? The sky is overcast, Yet stars shall rise at last, Brighter for darkness past, And angels' silver voices stir the air. COMPOSITION. Give the substance of the poem in your own words, and explain the last stanza as fully as possible. Tell the meaning of: "hope is dead," "light is quenched in night." Why shall the stars be "brighter for darkness past"? Show, by familiar examples, when we notice light, and feel it most. perchance heedless quenched ANALYSIS. The main idea running through these beautiful lines is, that however dark and cheerless our course through life may be, yet faith can see a silver lining on every dark cloud. The swallows have disappeared, only to return with the advent of genial weather. Flowers die only to spring up afresh, when winter is past. The sun hides himself behind the clouds, only to burst forth with renewed splendor. Hope seems lost; but from the silence of despair, angels' silver voices will stir the air. COUNSELS FOR THE CONDUCT OF LIFE. DECISION. IT is but a truism to say that there can be no success in life without decision of character. Yet this quality cannot be created by human effort. Like vigor of body, it is a gift, and can be increased only through personal endeavors, aided by the help of God. But every man has within himself the germ of this quality, which can be cultivated by favorable circumstances and by motives presented to the mind. Let no one despair because he has often broken his resolution. It has been well observed that nothing is more destructive of character than for a man to lose all faith in his own resolutions, because he has so often determined, and again determined, to do that which, nevertheless, he has never done. Here, as elsewhere, "the stature of the perfect man" is attained only by slow gradations of study, effort and patience. The whole armor cannot be put on at once. The first victory will render the succeeding ones easier, until the very combat will be desired for the luxury of certain conquest. The intellect is but the half of a man; the will is the driving-wheel, the spring of motive power. A vacillating |