which, while consulting others, inquires still more of the oracle within itself, and uses instruction from abroad, not to supersede', but to quicken and exalt its own energies'. 4. I call that mind free, which sets no bounds to its love'; which is not imprisoned in itself, or in a sect'; which recognizes in all human beings the image of God, and the rights of his children'; which delights in virtue, and sympathizes with suffering wherever it is seen'; which conquers pride, anger, and sloth', and offers itself up a willing victim to the cause of mankind'. 5. I call that mind free, which is not passively framed by outward circumstances'; which is not swept away by the torrents of events'; which is not the creature of accidental impulse'; but which bends events to its own improvement, and acts from an inward spring', from immutable principles' which it has deliberately espoused'. 6. I call that mind free, which protects itself against the usurpations of society'; which does not cower to human opinion'; which feels itself accountable to a higher tribunal than man's'; which respects a higher law than fashion`; which respects itself too much to be the slave or tool of the many' or the few'. 7. I call that mind free, which, through confidence in God, and in the power of virtue, has cast off all fear but that of wrong-doing'; which no menace or peril can enthrall'; which is calm in the midst of tumults, and possesses itself', though all else be lost'. 8. I call that mind free, which resists the bondage of habit'; which does not mechanically repeat itself, and copy the past'; which does not live on its old virtues'; which does not enslave itself to precise rules'; but which forgets what is behind, listens for new and higher monitions of conscience', and rejoices to pour itself forth in fresh and higher exertions'. 9. I call that mind free, which is jealous of its own freedom'; which guards itself from being merged in others'; which guards its empire over itself' as nobler than the empire of the world'. 10. In fine, I call that mind free, which, conscious of its af finity with God, and confiding in his promises by Jesus Christ, devotes itself faithfully to the unfolding of all its powers'; which passes the bounds of time and death'; which hopes to advance forever'; and which finds inexhaustible power, both for action and suffering', in the prospect of immortality'. LESSON CXXXV. WHITFIELD'S PREACHING. [GEORGE WHITFIELD, a celebrated divine, the founder of the Calvinistic Methodists; born in England in 1714; died at Newburyport, New England, in 1770. He resided in Georgia at different times, and founded there an orphan house, through collections obtained by his preaching.] 1. DR. FRANKLIN, in his Memoirs, bears witness to the extraordinary effect which was produced by Mr. Whitfield's preaching in America, and relates an anecdote equally characteristic of the preacher and of himself. "I happened," says the doctor," to attend one of his sermons, in the course of which I perceived he intended to finish with a collection, and I silently resolved he should get nothing from me. I had in my pocket a handful of copper money, three or four silver dollars, and five pistoles in gold. As he proceeded, I began to soften, and concluded to give the copper. Another stroke of his oratory made me ashamed of that, and determined me to give the silver; and he finished so admirably, that I emptied my pocket wholly into the collector's dish, gold and all. 2. "At this sermon there was also one of our club, who, being of my sentiments respecting the building in Georgia, and suspecting a collection might be intended, had, by precaution, emptied his pockets before he came from home: toward the conclusion of the discourse, however, he felt a strong inclination to give, and applied to a neighbor who stood near him to lend him some money for the purpose. The request was fortunately made to perhaps the only man in the company who had the firmness not to be affected by the preacher. His answer was, 'At any other time, Friend Hodgkinson, I would lend to thee freely; but not now, for thee seems to be out of thy right senses. LESSON CXXXVI. I. AFFECTATION IN THE PULPIT. IN man or woman, but far most in man, What! will a man play tricks?—will he indulge COWPER. II. MASSILLON AT THE FUNERAL OF LOUIS XIV. 1. The beginning of Massillon's funeral oration upon Louis the Fourteenth produced a wonderful effect. The church was hung with black; a magnificent mausoleum was raised over the bier; the edifice was filled with trophies and other memorials of the monarch's past glories; daylight was excluded, but innumerable tapers supplied its place, and the ceremony was attended by the most illustrious persons in the kingdom. 2. Massillon ascended the pulpit, contemplated, for some moments, the scene before him, then raised his arms to heaven, looked down on the scene beneath, and, after a short pause, slowly said, in a solemn, subdued tone, "GOD ONLY IS GREAT!" With one impulse all the auditory rose from their seats, turned to the altar, and slowly and reverently bowed. LESSON CXXXVII. THE NATURE AND KINDS OF POETRY. [Analysis.-1. How POETRY may be described. Its two leading divisions, Rhyme and Blank Verse.-2, 3, 4. Examples of each from Young and Pope.-5. In what respects these examples are alike. How poetry is a guide to the pronunciation of proper names. (Illustrations.)-6. The metrical principles on which English poetry is based. (Extended illustrations in note.) Poetic pauses.-7. Where the principal cæsu'ral pause falls.-8. Illustrations of the cæsu'ral pause.-9. Variety of rhyming poetry in our language. In other languages.-10. The most important classification of poetry.-11. Pastoral Poetry described.-12. Lyric Poetry.-13. An Epic Poem.— 14. Dramatic Poetry.] 1. POETRY may be described as measured or metrical language that which is governed by certain rules for the combination of accented and unaccented syllables. Of the two leading divisions of poetry, Rhyme is that form in which there is not only a measured arrangement of words and syllables, but also a recurrence of similar sounds at the end of certain lines; while Blank Verse is that poetry which depends upon measure alone to distinguish it from prose, each line being composed of ten alternate short and long syllables-the second, fourth, sixth, eighth, and tenth being accented. 2. In the two following examples, taken from two eminent poets, it would be difficult to say which is the more poetical, although one is in blank verse, and the other in rhyme. TIME PRESENT, TIME PAST, AND TIME TO COME. I feel the solemn sound. If heard aright, Where are they? With the years beyond the flood. It is the signal that demands dispatch: How much is to be done'! My hopes and fears And can eternity belong to me', Poor pensioner on the bounties of an hour' ?-YOUNG. PRIDE PERSONIFIED. 4. Ask for what end the heavenly bodies shine'; My footstool earth', my canopy the skies."-POPE. 5. In both of these examples there are ten syllables to a line, when read in poetic measure—the same number in the blank verse as in the rhyming poetry; and in both cases, with one or two minor exceptions, the lines are composed of alternate unaccented and accented syllables. All poetry has a regular system of accentuation, differing, in rhyming poetry, according to the different kinds of verse; and as none of it can be read with ease or elegance without giving it the right metre or rhythm, it follows that, when proper names are contained in it, their correct pronunciation is easily determined, inasmuch as all great poets are supposed so to arrange all such words that each will receive the right accentuationa. Thus, from the following examples, it will be seen that we must pronounce Gen'o ä (gen'wä), Gra nä ́dä, Ga li'čia, Ar is toph'a nēs, Men e là'us, Ie'a rus, etc. : "How quick they carved their victims, and how well, Let Saxony, let injured Genoa tell."-MOORE. "Granada caught it in her Moorish hall, Galicia bade her children fight or fall."-Scott. "The Muses, seeking for a shrine Whose glories ne'er should cease, |