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found the dogs which he had previously carried to America, to have lost their propensity to barking. The ancients were aware of this circumstance. Isaiah compares the blind watchmen of Israel, to these animals, 'they are dumb-they cannot bark.' But, on the contrary, David compares the noise of his enemies to the 'dogs round about the city.' Hence the barking of a dog is an acquired faculty; an effort to speak which he derives from his associating with man. 'The dog indicates his different feelings by different tones of voice; and thus the shepherd's dog (in England) has a command over 'his flock, without using positive violence. Their 'tones are so marked, that they are recognised as 'expressive of anger or fear. The horse knows 'from the bark of a dog when he may expect an ' attack upon his heels.'*

It cannot be doubted that dogs in this country bark more and fight less than formerly. This may be accounted for by the civilization of the lower orders, who have gained a higher taste in their sports and pastimes than badger-baitings and dogfights; and it may with truth be asserted, that the march of intellect has had its influence even upon the canine race, in destroying that natural ferocity for war, which (happily for the world) is now spent more in words than in blows.

It has not fallen within the writer's pursuits to have much knowledge of dogs, but it would be an • Library of Entertaining Knowledge.

amusing investigation to analyse their language, which is not only curious but copious. That they understand the general force of language, and the particular meaning of many words, cannot be doubted. Miss Hawkins tells us, that the little dog Mrs. Garrick used to take to the play, had so fine an ear, that he always knew his master by the tone of voice from the other actors, and showed great signs of joy when he was speaking.

Though the barking of a dog is an inarticulate sound, yet, if he is brought by the side of a pianoforte while barking, you may distinctly hear the notes upon which his bark is made, reflected by the instrument. The following are the notes of a dog barking with excess of pleasure, upon going out with his master.

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The yelp of a cur, whose foot has been trod upon.

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The whine of a dog tied up.

A mastiff dog.

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The bark of a great dog introduced into scherzo, by Haydn in his Thirty-eighth Quartetto.

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OXEN.

If we would listen to the graver animals, we must walk into the meadows where the buttercups spring through the long grass.-There lies the dairy 'farm, surrounded with the peaceful but noisy kine. 'In luxuriant keep, they browse and bask in the 'summer's sun, or seek the beechen shade. Their 'lowing, though rude and rough, is music to the 'farmer's ear; save one, who moans the loss of her sportive young.-With wandering eye and anxious 'look-she grieves the livelong day.' From these their harmless tones, we may collect the notes of joy, as well as those of pain.

G of not mot mall

The horse is a more silent animal. You never hear him but when he has lost his companions. More fearful than the ox, he flies at the approach of danger, and his neighing 'resounds the forest through'-mounted on a rising ground, he looks and listens with ears erect for his fellows, and calls to them with a clear and laughing voice. To the 'horse thou hast given strength and clothed his 'neck with thunder. He saith among the trumpets, 'ha ha! and smelleth the battle afar off.'*

* Job, chap. xxxix.

Though his shrill and piercing whinney passes through every semitone of the scale, he varies it but little, and has no other song.

THE ASS.

Among the vocalists, the submissive ass ranks but as a rough and rude performer. His meek and lowly look would indicate a gentler voice. Though coarse, his notes are passing sweet compared to those of his brother mule, who, when he opens his hideous throat, puts every admiring friend to flight. In a less vulgar tone, Jack begins his bray with a modest whistle; rising gradually to the top of his powers, like the progressive eloquence of a welladjusted oration, declining thus to an emphatic close.

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Una corde.

The poet has described him as singing in 'sonorous octaves, loud and clear,'

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but to neither of these strains is he confined. Haydn has copied one of his ejaculations in his Seventysixth Quartett with great success.