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withdrawing it from its course, and rendering its powers subservient to his will.

8. Ocean extends over half the globe her liquid plain, in which no path appears, and the rude winds oft lift her waters to the sky; but there the skill of man may launch the strong knit bark, spread forth the canvass to the gale, and make the trackless deep a high way through the world.

4. In such a state of things knowledge is truly power; and it is highly important to human beings to become acquainted with the constitution and relations of every object around them, that they may discover its capabilities of ministering to their own advantage. Farther, where these physical energies are too great to be controlled, man has received intelligence by which he may observe their course, and accommodate his conduct to their influence.

5. This capacity of adaptation is a valuable substitute for the power of regulating them by his will. He cannot arrest the sun in its course, so as to avert the wintry storms, and cause perpetual spring to bloom around him; but, by the proper exercise of his intelligence and corporeal ener gies, he is able to foresee the approach of bleak skies and rude winds, and to place himself in safety from their inju rious effects. These powers of controlling nature, and of accommodating his conduct to its course, are the direct results of his rational faculties; and in proportion to their cultivation, is his sway extended.

6. Man, while ignorant, is in a helpless condition. But when illuminated by knowledge, he discovers in the objects and occurrences around him, a scheme beautifully arranged for the gratification of his whole powers, animal, moral, and intellectual; he recognizes in himself, the intelligent and accountable subject of an all-bountiful Creator, and in joy and gladness desires to study the Creator's works, to ascertain his laws, and to yield to them a steady and a willing obedience.

7. Without undervaluing the pleasures of his animal nature, he tastes the higher, more refined, and more enduring delights of his moral and intellectual capacities, and he then calls aloud for education, as indispensable to

the full enjoyment of his rational powers.

Our constitu

tion and our position equally imply, that the grand object of our existence is, not that we should remain contented with the pleasures of mere animal life, but that we should take the dignified and far more delightful station of moral and rational occupants of this lower world.

8. Man is evidently a progressive being; and the Creator, having designed a higher path for him than for the lower creatures, has given him intellect to discover his own nature and that of external objects, and left him, by the exercises of that intellect, to find out for himself the method of placing his faculties in harmony among themselves, and in accordance with the external world. Time and experience are necessary to accomplish these ends; and history exhibits the human race only in a state of progress towards the full development of their powers, and the attainment of rational enjoyment.-George Combe.

The above is an extract from "The Constitution of Man, considered in relation to External Objects," by George Combe, Esq. of Edinburgh.

TO MARY IN HEAVEN.

1. Thou lingering star, with less'ning ray, That lov'st to greet the early morn,

Again thou usher'st in the day

My Mary from my soul was torn.

O, Mary! dear, departed shade!

Where is thy place of blissful rest?

Seest thou thy lover lowly laid?

Hear'st thou the groans that rend his breast?

2. That sacred hour can I forget,

Can I forget the hallow'd grove,

Where by the winding Ayr we met,
To live one day of parting love!
Eternity will not efface

Those records dear of transports past;

Thy image at our last embrace!

Ah! little thought we 'twas our last!

3. Ayr, gurgling, kissed his pebbled shore,
O'orhung with wild woods' thick'ning green;
The fragrant birch, and hawthorn hoar,
Twin'd amorous round the raptur'd scene.
The flowers sprang wanton to be prest,
The birds sang love on every spray,
Till too, too soon, the glowing west
Proclaim'd the speed of winged day.

4. Still o'er these scenes my mem❜ry wakes,
And fondly broods with miser care!
Time but the impression deeper makes,

As streams their channels deeper wear.

My Mary! dear, departed shade!

Where is thy place of blissful rest?

Seest thou thy lover lowly laid?

Hear'st thou the groans that rend his breast?

Burns.

Robert Burns, the great but ill-fated Scottish poet, by whom the above beautiful and pathetic lines were written, was born in 1759, near Ayr. It should be read on a low key.

THE CHRISTIAN'S HOPE.

1. Hail! sweetest, dearest tie that binds
Our glowing hearts in one,

Hail! sacred hope that tunes our minds
To harmony divine.

Chorus.

It is the hope, the blissful hope,

Which Jesus' grace has given;

The hope, when days and years are past,
We all shall meet in heaven;

We all shall meet in heaven at last,
We all shall meet in heaven;

The hope when days and years are past,
We all shall meet in heaven.

2. What though the northern wintry blast
Shall howl around thy cot;

What though beneath an eastern sun
Be cast our distant lot;

Chorus.

Yet still we share the blissful hope
Which Jesus' grace has given, &c.

3. From Burmah's shores, from Afric's strand,
From India's burning plain,
From Europe, from Columbia's land,
We hope to meet again.

Chorus.

It is the hope, the blissful hope
Which Jesus' grace has given, &c.

4. No lingering look, no parting sigh,
Our future meeting knows;
There friendship beams from every eye,
And hope immortal grows.

Chorus.

O, sacred hope! O, blisssful hope!

Which Jesus' grace has given, &c.—A. Sutton.

In the year 1834, Rev. Amos Sutton, who had occupied several years as a missionary, near the temple of Juggernaut, in Orissa, India, visited England and America, for the recovery of his health. In these countries, he addreesed large assemblies with great acceptance; and on the eve of his return to the field of his labor, many thousands, under the impression that they should "see his face no more," expressed an attachment for him, which presented a striking contrast between the affection of Christians and the cold indifference which he had witnessed among the heathen This prompted him to compose the above beautiful and pathetic lines They should be read on a low key, and in a plaintive manner.

RULES FOR THE STRUCTURE OF A SENTENCE.

1. General RULES.-1st. Observe strictly the order of cause and effect; or, let objects be designated successively, as they give immpressions to the organs of sense; ideas, emotions, and passions, in the order in which they are produced in the mind. 2d. Let the more general ideas precede the more particular. 3d. Let the mention of time and place precede that of actions in them; and of conditions, that of the things dependent on them.

2. PARTICULAR RULES.-Let the following order be observed, so far as it may be applicable in any sentence :1st, Time; 2d, Place; 3d, General circumstances; 4th, Person, or Persons; 5th, Motives; 6th, The Act; 7th, The Result.

3. Examples. [Time.] In the year 1809,-[Place,] on the banks of the Danube,-[General circumstances,] while the majority of the German States were under the influence of France,-[Persons,] the arch-duke Charles, with a brave Austrian army,-[Motives,] excited by the resolution to liberate their country, or die in the attempt,[Act,] completely routed a powerful host of French invaders, foiled the renown of their boasted chiefs,-[Result,] and gave an example to Europe, which did not fail to be imitated.-Alexander Walker,

Writers are not, perhaps, aware of the existence of the above rules. It is believed, however, that all accomplished writers and good speakers unconsciously comply with them, in the structure of their sentences. The suggestions of the author of these rules, on the subject of elocution, are also entitled to consideration. He says, that "The fine arts are intimately connected with language. Like it, their object is to communicate ideas and emotions. So close is this alliance, that the perfect orator exhibits to a great extent, in his own person, the solemn dignity of sculpture, the magic lights of painting, the sublime enthusiasm of poetry, and the indescribable charms of music. Whence this union? What common principle pervades them all? Is it that they all result from the muscular motions of the human body? Are the significant gestures of the orator, and the representations of such by the painter or the sculptor, spontaneous imitations of the forms and motions connected with the reception of the ideas to be expressed? Be this as it may, the most expressive productions of art afford the two following principles of contrast and harmony.

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