paw to the other under the currant-bushes. Lighting on the bush above, she called the little folks to the spot by her cries. 27. Jamie plunged under the bush, and catching the cat, with one or two blows he obliged her to let Tip-top go. The poor thing was not dead; but some of his feathers were torn out, and one of his wings was broken. Tiptop was put back into the all the nonsense out of him: he was a dreadfully humbled young robin. 28. In a short time all the other birds in the nest learned to fly; but poor Tip-top sat there all alone, sad enough, with a broken wing. Finally Jamie took him out of the nest, and made a cage for him, and took so good care of him that he seemed tolerably contented: but he was a poor lame-winged robin all his days. He never ceased to mourn the folly which had made him a cripple, and had so nearly cost him his life. Moral. 29. "Little boys," said Jamie's mother, "when they are C about half grown up, sometimes do just as Tip-top did. They are in a great hurry to get away from home into the great world; and then Temptation comes, with bright eyes, and smooth velvet paws, and promises them fun; and they go to bad places; they get to smoking, and then to drinking; and finally the bad habit gets them in its teeth and claws, and plays with them as a cat does with a mouse. 30. "They try to reform, just as the little robin tried to get away from the cat; but their bad habits pounce on them, and drag them back. And so, when the time comes that they want to begin life, they are miserable brokendown creatures, like the broken-winged robin. 31. "So, Jamie, remember the fate of Tip-top. Don't try to be a man before your time, but let your parents judge for you while you are young. When you are tempted to do any thing wrong, remember Pussy is there; and Pussy's claws are long, and her teeth are strong; and if she gives you one shake in your youth, you will be like a broken-winged robin all your days." a FIG-UR-ING, appearing conspicuously. b GLEE, exceeding joy. WHIR'-RING, flying with noise. dЄUD'-DLE, to lie close down. HARRIET BEECHER STOWE. PLAINT'-IVE, lamenting; sorrowing. HUM'-BLED, humiliated. 8 RE-FORM', change for the better. [This lesson furnishes great variety in emphasis, inflectious, pitch, and quality of voice; and pupils should be required to give the natural expression in all cases. This is an allegory (see p. xi.), in which, in a very interesting and natural manner, several young birds are introduced, and then described so as to represent the characters of different persons. The principal of these characters is represented by "Tip-top ;" and the moral applicable to his case is given at the close of the lesson. Allegory is peculiarly adapted to the young, because it is addressed to the senses, those first inlets of ideas. The young feel strongly, long before they judge accurately; and if we can excite curiosity, awaken the feelings, and enlist the imagination to the perception of moral truths, we shall find little difficulty in giving the right bias to the understanding. He who "spake as never man spake," frequently adopted the mode of instructing by allegory.] LESSON XII. SONG IN PRAISE OF SPRING. 1. WHEN the wind blows In the sweet rose-tree', And the cow lows On the fragrant lea', And the stream flows, All light and free', 'Tis not for me', 'tis not for thee'; "Tis not for any one' here, I trōw':b The gentle wind blōweth', The happy cow lōweth', The merry stream flōweth', Oh, the Spring! the bountiful Spring! 2. Where come the sheep'? To the rich man's moor.d To the bed that's poor. Peasants must weep', And kings endure'; This is a fate' that none can cure': Yet Spring doeth all she can', I trōw'; She bringeth' the bright hours', For all below! Oh, the Spring! the bountiful Spring! LEA, meadow or sward land. BARRY CORNWALL. © BOUN'-TI-FUL, giving in abundance. d [This song in praise of Spring expresses the emotions of the poet; and it is this charac teristic which distinguishes modern lyric poetry. What is lyric poetry? (See p. ix.) The emotions here expressed are those of joy, exultation, and gratitude for the goodness of Spring, which showers her blessings on all below. Point out some examples of figurative language in this lesson. (See p. x.) The poetry is animated and joyous. What pitch of voice is required in the reading of it? (See p. xiv.) What stress of voice? What time? What quality of voice? (The pure tone.)] HOME. Man, through all ages of revolving time, J. MONTGOMERY. 1. "LITTLE BENNY'!" So the simple head-stone said`. Only those two little words'! But why did my eyes fill with tears'? I never saw the little creature'. I never looked in his laughing eye'; or heard his merry shout'; or listened for his tripping tread'. I never pillowed his little head'; or bore his little form'; or smoothed his silken locks'; or laved his dimpled limbs'; or fed his cherry lips with dainty bits'; or kissed his rosy cheek' as he lay sleeping'. 2. I did not see his eye grow dim'; or his little hand droop powerless'; or the dew of agony's gather on his pale forehead'. I stood not with clasped hands, and suspendeda breath', by his little bed'; I saw not the look, that comes but once', flit over his cherub face'. And yet, "little Benny'," my tears are falling'; for, somewhere, I know there's an empty crib', a vacant chair', useless robes and toys', a desolate hearth-stone', and a weeping mother'. 3. "Little Benny'!" It was all that mother's full heart could utter'; and it was enough'. It tells the whole story of a mother's love', a mother's loss', a mother's sorrow'. 4. But does it tell nothing more'? "Little Benny'!" Does it bring no balm to that mother's wounded heart'? Does she not recall those words of a Savior's love, "Suffer little children to come unto me, for of such is the kingdom of heaven' ?" a LAVED, bathed; washed. b DAINT'-Y, nice; delicious. AG'-O-NY, extreme suffering. d SUS-PEND'-ED, made to cease for a time. e CHER'-UB, angelic. f BÄLM, consolation; a soothing of grief. [What do the quotation-marks at the beginning of the first verse show? This lesson is supposed to be the reflections of some one who was looking upon the stone at the head of the grave of a little child. What are some of the thoughts that passed through the mind of this person? What words of consolation are quoted in the closing verse? To what feelings is this lesson addressed? Then what is the character of the piece? (Pathetic, p. xiii.) What degree of force should be used in reading it? Of time? What pitch of voice? (Low pitch.)] 1. "HARK! the deep-toned bell is calling- Weary ones', where'er you wander', Louder now and louder pealing, On the heart that voice is stealing- |