In reality, however, he was filled with base cupidity, and ungratefully resolved to procure for himself the grounds of his benefactor. Shortly after, he presented himself before the king; and, recounting his misfortunes and at the same time his services, begged that Philip would give him an estate, and specified that of his entertainer as one which would be peculiarly acceptable. Ignorant of the circumstances, Philip in considerately granted the request. The soldier immediately returned, and, driving out his preserver with violence, Leized on the property in question. The latter, stung to the heart by this unparalleled ingratitude. boldly approached the king, and laid the whole case before him. Philip, finding, on examination, the story to be true, lamented his own inconsiderate act, ordered the property to be restored, made the suffering complainant a munificent present, and, seizing the base soldier, confiscated his goods, and had the words THE UNGRATEFUL GUEST branded on his forehead. [Close with remarks on the king's justice.] LESSON XCIX. EXERCISE IN BIOGRAPHY. FROM the following points, draw up two Bicgraphical Sketches, one of Alfred the Great, and the other of William the Conqueror. If further information is needed, any history will supply it. ALFRED THE GREAT. Introduction-Responsibility resting on kings-How much the happiness or misery of their subjects depends on themHow some kings abuse their opportunities of doing good, while others are incalculable blessings to the lands they rule— How it was in the case of Alfred. Born 849, at Wantage in Berkshire-son of Ethelwolf; his mother was Osburgh, daughter of Oslac, butler to Ethel wolf, but well descended. His early education neglected-his natural thirst for knowledge-skilled in bodily exercises. His enemies, the Danes: i. e. the people of Scandinavia (Sweden, Denmark, and Norway). Commander of his brother's armies-recommends a navy. Losses and reverses of fortune-anecdote of the burnt cakes-visit in disguise to the Danish camp-defeat of the Danes-baptism of Guthrum-Alfred's power increases.Peace during the last two years of his reign-dies 901. His character-learning-piety-habits-political institutions-patronage of learned men-division of England into counties, hundreds, tithings, &c. WILLIAM THE CONQUEROR. Introduction-some kings seem to have been chosen by Providence as instruments for effecting mighty changes in nations the case with William the Conqueror-intermixture of Normans with Saxons produced the English nation of the present day. Whose son ?—his title to the English throne-his rival— the invasion of England-the number of William's armywhere he landed. Harold's title to the crown-proposals made by William to Harold the night before the battle. The battle and its circumstances-death of Harold, and victory of William-14th October, 1066. Extinction of the Saxon rule-submission of the clergy. Coronation-oath-return to Normandy-Effects of his absence-Conspiracy of the English-return of William, and treatment of the rebels and English clergy. Destined to vexation and trouble-his children-anecdote of their quarrels. Insurrection in Normandy-conduct of the queen, daugh ter of Baldwin, Earl of Flanders-rebellion quelled by an English army. Death of Queen Matilda-insurrection in Maine aided by the King of France. Invasion of France by William-accident which caused the death of the king in 1087. Character-changes produced in England during his reign -Relations between the Saxons and the Normans-changes in the language. LESSON C. FICTION. 450. FICTION is that branch of composition which con sists in the narration of imaginary incidents. With this narration, descriptions of material objects, of natural scenery, and of persons, are generally combined. It will be seen that the difference between the narrative and the fiction lies in the character of the incidents they respectively relate; the former being limited to such as are true, while those of the latter are created either wholly or in part by the imagination. We say in part, for fictions may be founded on fact, historical events being often taken is the basis of such compositions. If the details have been invented by the author, if imaginary conversations, characters, or scenes, are introduced, it is sufficient to constitute a fiction. § 451. The chain of incidents on which a fiction is founded, is called its Plot. A plot should not be glaringly improb able; it should be moral, consistent in all its parts, and so managed as to keep alive the reader's interest throughout. This is often ensured by reserving some important denouement for the last. §152. Next to a good plot, nothing is more necessary to success in fictitious composition than a striking and life-like portraiture of character. Individual peculiarities of mind and manners must be carried out. Whatever the personages introduced say or do, must strictly harmonize with the character assigned them by the writer. § 453. Fictitious compositions constitute one of the most $450. What is fiction? With this narration, what are generally combined? What constitutes the difference between a narrative and a fiction? On what may fictions be founded? What are often taken as a basis for them? In such cases, what is sufficient to constitute a fiction? § 451. What is meant by the plot of a fictitious composition? What is esscutal with respect to a plot? How is the reader's interest often kept alive to the end? § 452. Next to a good plot, what is most important to success in fictitious compo sition? What is meant by this? § 458. Explain how fictitious compositions exert a powerful influence on the morals important departments of literature. Obtaining greater currency than almost any other kinds of writing, and furnishing food, as they do, to a great extent, for the imaginations of the young, they exert a powerful influence on the morals and taste of a nation. That this influence should be cast on the side of morality and truth, is all-important. In the hands of judicious writers who feel the responsibility of their position, fiction becomes an important instrument of good. It furnishes one of the best channels for conveying instruction, for showing the errors into which we are betrayed by our passions, for tendering virtue attractive and vice odious. Accordingly, we find that the wisest of men, in all ages, have used fables and parables as vehicles of moral instruction. It must be observed, however, that, while fiction, as shown above, may be an effective instrument of good, it is no less powerful an agent of evil, when diverted from its proper use, and made to teach a false moral or pander to the baser passions. No ordinary responsibility, therefore, rests on the writer in this department of composition. § 454. The principal forms in which fiction appears are Tales, Novels, Romances, and Dialogues. The first three of these are closely related; the difference between them is as follows. The Tale is short and simple, and admits of comparatively few characters; it is told without much regard to keeping the reader in suspense, and often has but little depth of plot or importance of denouement. The Novel and the Romance, on the contrary, admit of every possible variety of character, and afford the greatest scope for exciting the interest of the reader by a rapid succession of events, an involvement of interests, and the unravelling of intricacies of plot. The Novel, though thus like the Romance in its main features, differs from the latter in that it aims at the delineation of social manners, or the development of a story founded on the incidents of ordinary life, or both to gether; whereas the Romance is based on incidents, not mere and taste of a nation. In the hands of judicious writers, what does fiction become? Show how it is made an instrument of good. On the other hand, show how it may be attended with the most pernicious effects. § 454. What are the principal forms in which fiction appears? What are the dis tinguishing features of the tale, the novel, and the romance? What word is commonly ly improbable, but altogether wild and out of the common course of life at the present day,-on legends of bygone ages, heroic exploits of former times, supernatural events, and vagaries of the imagination in general. In all three, the plot may be unfolded, at least in a measure, by means of conversations between the characters introduced. The word story is commonly used as synonymous with tale. Proper· ly speaking, however, this term is applied to any narrative of past events, real or fictitious. We speak of " the story of Joseph,” and “ the story of the Forty Thieves." A Dialogue is a fictitious conversation between two or more persons. Dialogues have been used with great success, particularly by the ancients, as a convenient form for the discussion of serious topics con nected with criticism, morals, and philosophy. Well conducted, they are peculiarly entertaining to the reader; as they not only afford him a full view of the subject in all its relations, but at the same time please him with their easy conversational style, and their display of well-supported characters. But, to be thus effective, a dialogue must show in a striking light the character and manners of the several speakers, must adapt to these their thoughts and expressions respectively,—in a word, must be a spirited representation of a real conversation. In this difficult branch of composition, few have equalled Plato, in whose mind soundness of judgment seems to have been combined in an unprecedented degree with richness of imagination. Socrates is one of his prominent characters. This sage, whom he reveres as a philosopher and loves as his master, is represented as conversing with the sophists on various topics; as asking them questions which bear on the point without their perceiving it, founding new interrogatories on the an swers received, and thus leading them on until they suddenly find themselves involved in difficulties and absurdities, and are obliged, by the admissions they have made, to own the falsity of their own position and the correctness of their adversary's. This mode of reasoning has used as synonymous with tale? What two-fold signification has this term story? Il lustrate each. What is a dialogue? For what have dialogues been used? What renders them, when well conducted, peculiarly entertaining to the reader. To be effective, what is essential with respect to a dialogue? Who is distinguished for his skill in this department of composition? Who constitutes one of Plato's prominent characters? Describe the Socratic mode of reasoning as represented in Plato's dialogues. What is meant by a Socratic dialogue? What other kind of dialogue is mentioned? What |