sented, and the pathetic thought that all this magnificence and great ness is destined to destruction. "The cloud-capt towers, tho gorgeous palaces, The solemn temples, the great globe itself, Yea, all which it inherit, shall dissolve; And, like an insubstantial pageant faded, As observed in § 265, battles are among the sublimest spectacles on which the eye can gaze, by reason of their displaying immense power in the act of violent exertion. We may, therefore, look for the same element of grandeur in descriptions of such scenes. Homer furnishes one of the sublimest, as well as earliest, in the whole range of poetry. "When now gathered on either side, the hosts plunged together in fight; shield is harshly laid to shield; spears crash on the brazen corselets; bossy buckler with buckler meets; loud tumult rages over all; groans are mixed with the exulting shouts of men; the slain and the slayer join their cries; the earth is floating round with blood. As when two rushing streams from two mountains come roaring down, and throw together their rapid waters below, they roar along the gulfy vale. The startled shepherd hears the sound, as he stalks o'er the distant hiils; so, as they`mixed in fight, from both armies clamor with loud From Ossian we take another description of a battle-scene, which bears, it will be observed, a decided resemblance to the one last quoted, both in the enumeration of circumstances, and in the comparison of the contending hosts to two mountain torrents. Both are eminently sublime, presenting to us in a few words a succession of striking images. "Like Autumn's dark storms pouring from two echoing hills, towards each other approached the heroes; as two dark streams from high rocks meet and roar on the plain, loud, rough, and dark in battle, meet Lochlin and Inisfail. Chief mixes his strokes with chief, and man with man! Steel sounds on steel, and helmets are cleft on high: blood bursts and smokes around: strings murmur on the polished yews: darts rush along the sky spears fall like circles of light which gild the stormy face of night. "As the noise of the troubled ocean when roll the waves on high, as the last peal of thundering heaven, such is the noise of battle. Though Cormac's hundred bards were there, feeble were the voice of a hundred bards to send the deaths to future times; for many were the deaths of the heroes, and wide poured the blood of the valiant.” What are among the sublimest spectacles, and why? What follows with respect to descriptions of battle-scenes? From what two authors are general descriptions of battles quoted? How do they compare in point of sublimity? In what respects do they resemble each other? What other poet's description of a similar scene is presented? Repeat it. How, in your opinion, does it compare in point of grandeur with the two extracts just given? Compare with these the fine passage in the sixth book of Paradise Lost, than which nothing could be more lofty or forcible. "Now storming fury roso, And clamor such as heard in Heaven till now Was never; arms on armor clashing brayed Both battles main, with ruinous assault Resounded; and, had earth been then, all earth Had to her centre shook." Darkness, obscurity, and difficulty, are introduced with fine effect into the following passage from Milton, which describes the travelling of the fallen angels through their dismal habitation :— "O'er many a dark and dreary vale They passed, and many a region dolorous; O'er many a frozen, many a fiery Alp; Rocks, caves, lakes, fens, bogs, dens and shades, of death- Seldom has a supernatural being been represented with such genuine sublimity as in the following fine extract from Ossian, descriptive of Fingal's interview with the spirit of Loda. The ghost is invested with obscurity, might, and terror; the king of Morven, with fearless heroism the darkness of night is around: all things contribute to intensify the sublimity, with which, it may be added, the simple sententiousness of the style is eminently in keeping. "A blast came from the mountain: on its wings was the spirit of Loda. He came to his place in his terrors, and shook his dusky spear. His eyes appear like flames in his dark face: his voice is like distant thunder. Fingal advanced his spear in night, and raised his voice on high. Son of night, retire: call thy winds, and fly! Why dost thou come to my presence with thy shadowy arms? Do I fear thy gloomy form, spirit of dismal Loda? Weak is thy shield of clouds; feeble is that meteor thy sword! The blast rolls them together: and thou thyself art lost. Fly from my presence, son of night! call thy winds and fly!' What other passage is presented from Milton? What points are introduced with fine effect? What specimen is given of descriptions of supernatural objects? With what is the ghost invested? With what, the king? What contributes to intensify the sublimity! How is the spirit of Loda described? What does it command Fingal to do? What is the result of the interview? "Dost thou force me from my place?' replied the hollow voice. '1 turn the battle in the field of the brave. I look on the nations, and they vanish: my nostrils pour the blast of death. I come abroad on the winds: the tempests are before my face. But my dwelling is calm above the clouds; pleasant are the fields of my rest.' "Dwell in thy pleasant fields,' said the king. Let Comhal's son be forgotten. Do my steps ascend from my hills into thy peaceful plains Do I meet thee with a spear on thy cloud, spirit of dismal Loda? Why then dost thou frown on me Why shake thine airy spear? Thou frownest in vain: I never fled from the mighty in war; and shall the sons of the wind frighten the king of Morven? No-he knows the weakness of their arms.' 66 6 'Fly to thy land,' replied the form; ake to the wind, and fly! The blasts are in the hollow of my hand: the course of the storm is mine. Fly to thy land, son of Comhal, or feel my flaming wrath!' "He lifted high his shadowy spear! he bert forward his dreadful height. Fingal, advancing, drew his sword, the lade of dark-brown Luno. The gleaming path of the steel winds through the gloomy ghost. The form fell shapeless into air." § 275. Besides the objects enumerated in the last lesson, there is another class from which the subjects of the sublimest passages are often taken. They consist of the great and heroic feelings and acts of men; and the elevation which distinguishes them is generally known as the moral or sentimental sublime. When, in an extremely critical position, a person forgets all selfish interests and is controlled by high inflexible principles, we have an instance of the moral sublime. The most fruitful sources of moral sublimity are these: I. Firmness in the cause of truth and justice. Of this species of heroism, ancient Roman history furnishes many distinguished examples. Brutus, with unyielding sternness sentencing his sons to death, for having conspired against their country; and Titus Manlius, ordering his son to the stake, for engaging with an enemy contrary to his command;-excite in our minds the most elevated ideas. Socrates is another instance, who chose to die by hemlock, though means of escape were in his power, because their employment might have been construed into an admission of guilt. Above all, among never-to § 275. What is meant by the moral or sentimental sublime? When have we instan ces of the moral sublime? What is the first source of moral sublimity? What history furnishes us examples of this species of heroism? Mention two. What illustration is afforded by Socrates' career? What other memorable examples are cited? What is the second source of the moral sublime? Show how the story of Damon and Pythias furnishes two examples of moral sublimity. What instance is cited from Roman his be-forgotten instances of the moral sublime, are to be mentioned the heroic deaths of the Christian martyrs, who, amid tortures inconceivable, in flames and on the rack, testified to the reality of their faith. II. Generous self-sacrifice in behalf of another. The story of Damon and Pythias, the former of whom, having incurred the enmity of the tyrant Dionysius, was by him sentenced to death, furnishes us with two remarkable examples: first, that of Pythias, who remains as hostage during his friend's farewell visit to his family, on condition of suffering in his stead if he does not return at the appointed time; and, secondly, that of Damon, who, refusing to profit by the self-devotion of Pythias, comes back in season to redeem his pledge. We find another forcible illustration in the career of Coriolanus; when, after having been besought in vain by the leading men of Rome, he yields to his mother's tears and prayers, though aware that the consequences will be fatal to himself, and consents to withdraw his army with the sad words, "Mother, thou hast saved Rome,—but lost thy son!" Equally sublime is the self-devotion of Codrus, the last Athenian king. Informed by the oracle, that, in a battle which was about to take place, Athens or her king must perish, he rushed into the thickest of the fight, and by the sacrifice of himself saved, as he thought, his country. III. Self-possession and fearlessness in circumstances of danger. Of such elevated emotion, an incident in the career of Cæsar affords a striking illustration. Crossing, on one occasion, a branch of the sea, he was overtaken by a tempest of such violence that the pilot declared himself unable to proceed, and was in the act of turning back. " Quid times? Cæsarem vehis!" "What do you fear? You carry Cæsar!" was the sublime reply. We have another example of heroism in Mucius Scævola, thrusting his arm into Porsenna's camp-fire, to show how he scorned his threatened tortures, and keeping it there with unmoved countenance till it was entirely consumed. More than this, we see the effect produced by the act; for Porsenna was so struck with it that he gave the youth, who had come to murder him, his life, and subsequent ly negotiated a peace with Rome. IV. Exalted patriotism. Wolfe's death-scene embodies the height of the moral sublime tory? What, from the early history of Athens? What is the third source of moral sublimity? Exemplify it with incidents drawn from the career of Cæsar and that of Mucius Scævola. What is the fourth source of moral sublimity? Illustrate this with an ac Wounded on the Plains of Abraham, in the very death-agony, he heard the distant shout, "They fly! they fly!"-"Who fly?" eagerly asked the dying hero." The enemy,” replied one of his officers." Then," said he, "I die happy!" and expired. Another notable instance, quoted by all French critics, occurs in one of Corneille's tragedies. In the famous combat between the Horatii and the Curiatii, the old Horatius, being informed that two of his sons are slain, and that the third has betaken himself to flight, at first will not believe the report; but, being thoroughly assured of the fact, he is filled with grief and indiguation at this supposed unworthy behavior of his surviving son. He is reminded that his son stood alone against three, and is asked what he wished that he had done. "That he had died!" (Qu'il mourut I") is the reply. LESSON XLI. THE SUBLIME IN WRITING (CONTINUED). § 276. To give effect to the description of a sublime object, a clear, strong, concise, and simple, style, must be employed. These different qualities of style will be treated of hereafter; their general character is sufficiently understood for our present purpose. Every thing must be painted in such terms as to leave no room for misapprehension. To ensure strength, such circumstances must be selected for the description as exhibit the object in a striking point of view. It is plain that things present different appearances to us according to the side we look upon; and that, when there are a variety of circumstances, our descriptions will vary in character according to those we select. In this selection lies the great art of the composer, and the difficulty of sublime writing. If the description is too general, and barren of circumstances, we can not present a forcible picture; while, if any trivial or common-place circumstance is introduced, the whole is degraded. count of Wolfe's death-scene. What notable instance of exalted patriotism occurs in one of Corneille's tragedies? § 276. To give effect to the description of a sublime object, what kind of a style must be employed? How must every thing be painted? To ensure strength, what circumstances must be selected for the description? In what lies the great art of sublime writing? If the description is too general, what follows? What, if a trivial cir |