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SELECT EXTRACTS. with pride, all the pomp of its colors, ignorant Chatham has so well denominated the pro.

of the short duration of its frail existence. phetic eye of taste,' and which has left the Bel (FROM THE NEW YORK OBSERVER)

Every where the ground was enamelled with videre Apollo, and the Medicean Venus, the FUNERAL AT SEA,

flowers, the concaves of which glistening with temple of the llyssus and the temple of Mi1 Yesterday we were informed that a child had died in elle strip. To-day I read the English burial service, and flew presented so many cups ful} of precious nerva, to illustrate to all coming generations committed the body to the mighty deep, until the day when liquid. The sweet-briar seemed to have turn what genius can accomplish. We see thus in the grave and sea shall give up their dead. The inother lay

ed its thorns against itself, and, from the trem Taste, as in all the original operations of the in tears in het berththe father could scarce repress his

bling of its foliage, one might think the willow | mind, it is the sublimest attribute of intellianguish-and I felt the agony of their grief, as I pronounced the solemn words which accompanied the body into the

feared for its life.—The narcissus, reclining | gence to see things as they are. pathless deep." -Journ. of the late Red. H. B. McLellen. its head, dropped chrystal tears; and the tulip, placed beneath the rose, received in its beau

BEAUTY OF RELIGION.
The deep sea took the dead. It was a babe,
teous chaliee the precious rubies which distil-

FOFT are the fruitsu} things that bring
Like sculptured marble, pure and beautiful,
That, lonely to its yawning gulphs went down.
led from the perfumed bosom of the super-in-

The welcome promise of the spring,

And soft the vernal gale; -Poor cradled nursling---no fond arm was there cumbent tree. But, alas ! the duration of the

Sweet the wild warblings of the grave, To wrap thee in its fold; 1o lullaby one is but an instant, and the other is old before

The voice of nature and of love,
Came from the green sea monster, as he laid
the end of the day.

That gladdens every vale.
His shapeless head thy polish'd brow beside,
One mordent wondering at the beauteous spoil
Happy flowers ! the period of their existence

But softer in the mourner's ear
On which he fed. Old ocean heeded not
is determined by the setting sun, and they

Sounds the mild voice of mercy near, This added unit to his myriad dead. bloom, without anxiety for the moment that is

That whispere sine forgiven; But in the bosom of the tossing ship

And sweeter far the music swells to succeed. The philosopher, having retired Rose up a burst of anguish, wild and loud,

When to the raptured soul she tells From the vex'd fountain of a mother's love. with regret from the delicious place, had occa

of peace and promised heaven. -The lost! The lost loft shall her startled dream sion to return a few months after. Alas ! how

Fair are the flowers that deck the ground, Catch the drear echo of the sullen plunge changed! Instead of the rose-instead of the

Ånd graves and gardens bloom around, That 'whelm'd the uncoffin'd body-oft her eye

Unnumber'd charms unfold; nightingale, which lately joined to embellish Strain wide through midnight's long, unslumbering watch,

Bright is the sun's meridian ray, Remembering how his soll, sweet breathing seem'd this happy spot, the ear was struck with the

And bright the beams of setting day, Like ineasured music in a lilly's cup, piercing cries of the kite, and the mournful

That robes the clouds in gold. And how his tiny shout of rapture swellid croaking of the frog. The smiling verdure of

But far more fair the pious breast When closer to her bosom's core she drew the shrubbery was changed into grayish gloor,

lo richer robes of goodness drest,
His eager lip.
and the once charming clusters of roses, pre-

Where heaven's own graces shine
Who thus with folded arms,
And head reclined doth seem to count the waves,
sented nothing but masses of pointed thorns.

And brighter far the prospects rise,

That burst on faith's delighted eyes
And yet to heed them not? The sorrowing sire
He cast a look of regret on the place which

From glories all divine,
Doth mark the last, faint ripple, where his child
had so lately enchanted him, and was unable

Ali earthly charms, however dear, Sank down into the waters. Busy thought

to refrain from tears, as he meditated upon the Turns to his far home, and those little ones,

Howe'er they please the eye or ear,
short duration of existence.

Will quickly fade and fly;
Whom sporting 'mid their favorite lawn he left.
And troubled fancy shows the weeping there,
We have only a few moments to live! ex-

Or earthly glory faint the blazer
Wher, he shall seat them once more on his knee,

And soon the transitory rays claimed he: - lei us, then, endeavor to take And tell them how the baby that they loved

In endless darkness die. advantage of them all 1o insure happiness; to Hid ils pale cheek within its mether's breast,

The pobler beauties of the just, effect which, there is only one mode-by conAnd pined away and died-yet found no grave

Shall never moulder in the dust, Beneath the church-yard turf, where they might plant secrating them to virtue!'

. Or know a sad decay; The lowly mound with flowers.

Their honors, time and death defy,
What lifts the heart

And round the throne of Ileaven on high,

EXTRACT
Up from its bitter sadness? Hark-Flis voice

Beam everlasting day.
* FROM THE PHILOSOPHY OF ANALOGY.
That o'er the thunder ng wave doth pour subñine
Such words, as arch the darkest storm of Jile

LOVE OF MUSIC BY SHEEP,

BY F. WAYLAND, D. D. With faith's perennial bow.

We were surrounded by a large flock of Thou, who dost speak

Taste is the sensibility of our nature to the sheep, which were leaving their fold to go to Of His eternal majesty, who bids

various forms of beauty which the Creator their pasture; one of our party took his flute Both carth and sea to render up their dead,

hath spread with such profusion around us. out of his pocket, and saying “ I am going to Know'st thou how soon thy tomb shall drink the tears

He who made the mind for beauty, also made turn to Corydon, let us see whether the sheep of mourning kindred? Thou, who thus doth stand Screne in youthful beauty, to yield back

beauty for the mind. He hath pencilled it wil} recognise their pastor," began to play, What God hath claim'd,-know'st thou how full the tide

upon the spangled meadow and on the burn | The sheep and goats, which were following Of syinpathy, that now thy bosom thrills

ished cloud. He hath chiseled it in the gigan- | each other towards the mountain with their For strangers,-in thine own paterral halls

tie majesty of the cedar of Lebanon and in the Shall flow for thee?

heads hanging down, raised them at the first And if thou couldst, the fush

trembling loveliness of the tendril that twines sound of the fiute; and all with a general and Would not have faded on thy glowing cheek,

around its branches. In obedience to its laws, hasty movement, turned to the side from For thou hadat made the countenance of death

He hath taught the linnet to futter in the whence the agreeable roise proceeded. Gra- Familiar as a friend, through Ilim who pluck

grove, and the planets to revolve in their pathThe terror from his frown, and from his sting

dually they flocked round the musician, and The vedom. At thilie early tomb we bend,

way through the heavens. We hear it in the listened with motionless attention. He ceased Taking that deep monition to our souls,

purling brook, and in the thundering cataract, I playing ; still the sheep did not stir. The Which through embowering verdure seems to sigh

and we perceive it yet more legibly inscribed shepherd with his staff obliged those, nearest On every breeze-how frail is carth's best hope,

on all those social and moral qualities in the to him to move on. They obeyed; but no And how immortal thal, which roots in heaven. Hartford, Conn., Aug. 1. 31

L. H. S. exercise of which our Maker hath intended sooner did the fluter begin again to play, than

that we should be for ever approaching nearer his innocent auditors returned to him. The THE PHILOSOPHER AND THE GARDEN. and nearer in the exhaustless Source of uncre shepherd, out of patience, pelted them with A Translation from the Fersian of Nisami. ated excellence. These are the models which clods of earth, but not one of them would An Indian philosopher, who travelled like a nature presents for the contemplation of the move. The Outer played with additional sage (that is, on fooi) lo study Nature, chanced artist; and just in proportion to his power of skill; the shepherd exasperated, whistled, one day to enter a garden. He reposed with detecting among her complicated forms, the uttered many oaths, and pelted the fleecy amadelight in this place, which belonged to a simple elements of loveliness, and of combin teurs with stones. Such as were hit by them magnificent palace, and trode with transport | ing them according to the examples which she began to march, but others still refused to stir.. the precious tapestry with which the ground herself has set before him, will he fill the At last the shepherd was obliged to entreat our was adorned. There the tender button of the vacant canvass with images of beauty, and Orpheus to cease his magical sounds. The opening rose began to expand itself, imitating animate the dull, cold marble with breathing sheep then moved off"; but continued to stop in its numerous folds the brilliant knot of a | intelligence. It is this communion with Na- | at a distance as often as our friend resume rich purple cestus. There the tulip unfolded, | ture, which endows the artist with what Lord his instrument.-Bombet's Life of Haydn.

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ORIGINAL COMMUNICATIONS. expectancy. Where the three ending syllables, with the audible distinction between the up

of an interrogative sentence, are not emphatic, ward and downward vocal movement, we subAN INQUIRY

immutable, or unaccented, the cadence, if such join two diagrams representing the latter in its INTO THE ELEMENTARY CONSTITUTION OF THE

it may be named, is produced by a change of radical and concrete descent : Human Voice,-OR

pitch and a rapid intonation, through a monoSPEECH, AS A MUSICAL SCIENCE.

tone, on them, as in the following diagram: NO. IX. Tas reason why the partial intonation alone, is sufficient for the purposes of expression in the sentences, brought forward to illustrate its power in our last essay, is obvious; the additional clauses, notwithstanding they act in

"In - to what pit thou se-est; from what height fal-len!' an adverbial or modifying manner, are not

The above diagram shows the change, by essential to the point of inquiry. We would I said, you were un-com - fort – a · ble ? discrete or radical pitch, in the descending ocsuggest to the instructors of the rising genera It will be seen by the above diagram, that | tave :—the exclamation "what,” expressing tion, an inquiry into the subject of interroga-) the three final syllables « fort-a-ble" are raise

positiveness and horror, being placed an eighth tive sentences, not only with a view to correct a fifth in radical pitch above the radical on the below the preceding and suceeding words. grammar, but with an attention to that modula accented syllable " com."

The concrete downward octave will now be tion of voice, which, in clearly unravelling the Should the final syllable in a sentence be presented to the reader in the accompanying sense of a sentence, throws around it a dignity emphatic, and susceptible of that quantity ne diagram: and beauty to which every ear listens with cessary for the impression of the lengthened atiention.

concrete, the cadence, in its radical descent, A sentence which intimates a positive igno will resemble that of the diatonic melody : rance in the speaker as to the subject of inquiry, always requires the thorough expression; and when vehemently asked, whatever be the mode of construction, can be well ex

Well done. Hell doom'd. 'Tis 1. pressed in no other; as,

With these diagrams in his view, if the “Why stand we here idle ?"

reader will now endeavor to become master of in the speech of the celebrated Patrick Henry.

“Give Fa— bius a tri — umph for his de— lay ?” the movements which they represent, he will If the clause be read in the partial intonation,

The above diagram, taken from Dr. Rush's observe that the doubt conveyed in the upward on the pronoun “we," it will not be devoid of

work, shows the radical descent resembling the movement, gives place, in the reversed vocal sense, but that soul-stirring energy in which it

diatonic triad,—the difference in effect being position, to affirmation and certainty. is said to have been uttered, -that prophetic introduced by the subsequent ascent, from each

The natural descending octave, unmodified enthusiasm which was reflected from and to radical, through a fifth.

by any impression of vocal stress, is characterthe speaker, until one electric chain united the assembly in which it was spoken, will be lost.

The foregoing diagrams embrace only the | istic of mirthful wonder, mingled with affirmaWhen the final word of an interrogative sen

thorough expression. The cadence employed tion: - if, as the voice descends through the

in the partial application of interrogative in- interval, a swell or fulness is imparted to it, tence alludes mainly to the question, the applitonation, where neither antepenult, penult or

it becomes more strongly charged with woncation of the appropriate rising concrete to such

the ultimate syllable is emphatic, will be that der. Should an increase of force be given at word, will be sufficient to express the sense; as, of the diatonic triad.

its termination, anger and scorn is superadded “What! shall we stab him as he sleeps ?"

In closing our observations on this interest-| to its original principle. This interval is The sleeping is here the object of the inquiry.

ing portion of Elocution, we would observe, rarely employed, except in the drama, or in This fact is demonstrated by the reply:

that the rising concrete of a third, fifth or those instances, which at times occur in actual "No! for he'll say it was done cowardly, when he wakes."

octave, is indispensable to that portion of a life, and unfortunately furnish the drama Had the inquiry rested on the mode of execu sentence, bounded by the interrogative mark,

with too many examples. tion, the interrogative intonation on the word which carries the spirit or point of inquiry. The fifth, more dignified than the octave, "stab," would have shown it.

From this description of the upward con from its lower radical pitch, expresses wonder, Interrogation furnishes a fine field for the cretes, we proceed to notice the reversed intona- | mingled with admiration and derision. In the research of the philosophic grammarian. Its | tion and effect produced by a downward vocal | following sentence, if the downward fifth is full analysis would show our general punctua- | movement, through corresponding intervals. applied to the accented syllable " ra," it will be tion in no flattering colors, but at the same The doubt expressed by the rising movement found completely to reverse the literal meantime points the way to a more exact and better of the voice, through a third, fifth or octave, ing of the sentence, and to express the feeling mode of construction. It might perhaps for a gives place, in the downward movement, to the of contempt, mingled with derision, on applying short season rouse the ire of old punctuators, intonation of positiveness and affirmation, - the term “ courageous" to a chief who had debut would afford a fine and brilliant light to more fully expressed in proportion to the de- | serted his host : guide the energies of the new inquirers into scent of the voice. Affirmation is not the only

"Courageous Chier!

The first in flight from pain!” this pleasing branch of elocutionary science. characteristic of the descending lengthened We should hail their labors with pleasure, and concretes; they may be so modified by peculiar bid them welcome to the scene of operations. | impression of stress, hereafter to be referred to,

Interrogative sentences, like those uttered in as to express rage, astonishment, scorn, or any the diatonic melody, have their final cadence: 1 other feeling not opposed to affirmation, with They differ from the latter in this respect, that this principal element. That the reader may, while they express conclusion, the former create if he desires, become acquainted practically

Cou . ra . geous Chief!

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