CONTENTS

Page.
Slide[7]
Vital Slide[8]
Slide in Volume[9]
Forming Pictures[10]
[Chapter I.]
Tact and TalentLondon Atlas[13]
Shylock to Antonio William Shakespeare[ 15]
The Cynic H. W. Beecher[ 16]
Good By, Proud World R. W. Emerson[ 18]
The Destruction of Sennacherib Lord Byron[ 19]
Unwritten Music N. P. Willis[ 20]
Laus Mortis Frederic Lawrence Knowles[ 23]
Taxation of the Colonies Edmund Burke[ 24]
My Heart Leaps Up William Wordsworth[ 29]
Forest Scene From As You Like It William Shakespeare[ 30]
[Chapter II.]
The Rising in 1776 T. B. Read[ 35]
The Tent-Scene Between Brutusand Cassius William Shakespeare[ 39]
The Forging of the Anchor S. Ferguson[ 43]
Supposed Speech of John Adams Daniel Webster[ 48]
Life and Song Sidney Lanier[ 53]
Gathering Song of Donald the Black Sir Walter Scott[ 54]
Nutting William Wordsworth[ 55]
The Dodson Family George Eliot[ 58]
After the March Kain William Wordsworth[ 66]
[Chapter III.]
First Battles of the Revolution Edward Everett[ 67]
The Antiquity of Freedom W. C. Byrant[ 70]
National Bankruptcy Mirabeau[ 73]
The Lantern Bearers Robert Louis Stevenson[ 74]
Tarpeia Louise Imogen Guiney[ 78]
The Bells E. A. Poe[ 82]
The Temperance Question Wendell Phillips[ 86]
Sheridan's Ride T. B. Read[ 89]
To a Pupil Walt Whitman[ 92]
[Chapter IV.]
The Pickwickians on Ice Charles Dickens[ 93]
The Realm of Fancy J. Keats[ 103]
The Battle of Naseby Lord Macaulay[ 106]
The Glories of Morning Edward Everett[ 109]
The Chambered Nautilus O. W. Holmes[ 111]
Autumn H. W. Beecher[ 112]
Midsummer J. T. Trowbridge[ 116]
The Kitten and Falling Leaves William Wordsworth[ 118]
Summer Storm James Russell Lowell[ 121]
Jaques' Seven Ages of Man William Shakespeare[ 125]

THE PARTS.

THE ATTRACTIVE OR MELODRAMATIC PERIOD.

Love took up the harp of life and smote on all the chords with might,
Smote the chord of Self, that, trembling, passed in music out of sight.

Tennyson.

The power to detach, and to magnify by detaching, is the essence of rhetoric in the hands of the orator and the poet. This rhetoric, or power to fix the momentary eminence of an object, so remarkable in Burke, in Byron, in Carlyle—depends upon the depth of the artist's insight of that object he contemplates.

Emerson.