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The latter is intended for classes that are less advanced, and the former for those that are more advanced; and they are both intended to be preceded by some introductory book, such as those now used in Primary Schools, for teaching the elements of reading.
The practical teacher will find in these books an almost inexhaustible fund of grammatical illustration, as well as models of every style of English composition, both prose and verse. They may be used, therefore, not only in teaching reading in the higher department of rhetorical expression, but in teaching composition and grammar; and may be especially useful in making pupils acquainted with the varied resources of the language, a knowledge to be acquired in no other way than by familiarity with the writings of distinguished authors. It is believed, too, that the chronological arrangement of the extracts will enable the teacher, without material difficulty, to communicate important information in regard to the history of English literature. Short biographical and critical notices are, with this view, prefixed to ali the earlier authors, for the benefit of those young persons who may not have the advantage of a living
CHAUCER.-Critical Notice, 13; Prologue, 17; The Knight,
18; The Squire, 19; The Yeoman, 20; The Nun, 21,
The Clerk, 22; The Serjeant of the Law, 23; The
Franklin, 24; The Haberdasher, Carpenter, &c., 25;
The Cook, 25; The Skipper, 26; The Doctor, 26; The
Good Parson, 27; The Ploughman, 29; The Miller, 30;
SPENSER.-Critical Notice, 33; The Red Cross Knight and
the Lady Una, 34; Adventure of Una with the Lion, 39;
Archimago's Hermitage and the House of Morpheus, 41;
The Cave of Mammon, 44; Bridal Verses, 46; Music in
the Garden of Bliss, 51; The Misery of a Courtier's
SHAKSPEARE.-Critical Notice, 53; The Death of Prince
Arthur, 56; Hamlet's Interview with the King and Queen,
68; Description of the Ghost, 71; Appearance of the
Ghost, 73; Remarks upon Hamlet's Madness, 77; Ham-
let's conduct to Ophelia, 78; His Soliloquy on seeing
Hecuba acted, 79; Hamlet meditating Suicide, 81; Inter-
view with Ophelia, 82; Directions to the Players, 83;
The King's Soliloquy upon his Usurpation, 85, Hamlet's
reproaches to his Mother; 87; Ophelia's Death, 88; Love,
89; The Anxieties of Greatness, 90; Queen Mab, 92; Bo-
94; Affected Gravity, 95; Henry V. to Lord Scroop. 95;
Romeo's Banishment from Juliet, 97; Macbeth meditating
the Murder of Duncan, 99; Clarence's Dream, 100; Wol-
sey's Soliloquy after his downfall, 102; Shylock, 103 Por-
tia's Portrait, 104; Mercy, 105; An Apothecary, 106;
Speech of Henry V. before Harfleur, 106; Lovers by
Moonlight 108; Music, 108; Speech of Marullus, 109;
Dialogue between Brutus and Cassius, 110; Speech of
Brutus on Cæsar's death, 112; Speech of Antony, 114;
Othello's Courtship, 120; Advantages of Adversity, 123;
THE DRAMATISTS.-Critical Notice, 125; Ben Jonson,
126; Beaumont and Fletcher, 134; Dekker, 139; Mas-
singer, 140; Ford, 143; Heywood, 145; Shirley, 147.
SIR WALTER RALEIGH.-The Soul's Errand, 151.
COWLEY.-Heaven, 154; The Grasshopper, 155.
WALLER.-Go, Lovely Rose, 157; On a Girdle, 158; Old Age
VAUGHAN.-Early Rising and Prayer, 159.
MILTON.—Critical Notice, 161; Debate in Pandemonium, 165;
Description of Sin and Death, and Satan's Exit from Pan-
demonium, 171; Opening of Hell Gates, and Satan's
passage over Chaos, 174; Address to Light, 177; Para-
dise at a distance-Satan's Soliloquy, 179; External View
of Paradise, 182; Internal View of Paradise, 183; Eve's
Choice, 187; Adam's Account of his Creation, 188; Ad-
am's Account of the Creation of Eve, 191; Evening in
Paradise, 194; Eve's Account of her Creation, 196; Eve's
nuptial bower, 198; Evening Devotions of Adam and Eve,
199; Satan discovered in the nuptial bower, 199; Adam's
reproaches to Eve, 201; Repentance of Adam and Eve,
203, Eve's Lament, 204; Milton's Sonnet on his Blind
BUTLER.—Critical Notice, 206; Expedition of Hudibras, 206;
His Character, 207; His Religion, 209; His Dagger, 210.
DRYDEN.-Critical Notice, 211; Argument for Revealed Re
ligion, 212; Character of a Good Parson, 217; Character
of Buckingham, 221; Mankind, 222; Milton, 222.
PRIOR.-Critical Notice, 223; Abra's Love for Solomon, 224.
ADDISON.-Ode, 229; Cato's Soliloquy, 230.
SWIFT.-Critical Notice, 232; Verses on his own Death, 232;
POPE.- Critical Notice, 239; Moonlight, 240; The Toilet, 241;
Addison, 242; The Dying Christian, 242; Presumption
of condemning Providence for Man's apparent Condition,
243; The duty of Man to be content with his rank in
Creation, 245; Wisdom of Providence displayed in the
Weaknesses of Men, 247; Man not the only being to be
cared for, 247; Man essentially Social, 248; Happiness
GAY.-The Hare and Many Friends, 258.
PHILLIPS.- Winter Scene in Copenhagen, 261.
BERKLEY.- Prospect of planting arts and learning in Ame-
DR. JOHNSON.-Critical Notice, 263; Charles XII., 265;
Length of Days not always desirable, 266; True source
WATTS.- Summer Evening, 269; Hundredth Psalm, 270;
YOUNG.-Critical Notice, 272; Retirement, 272; Man, 273,
Folly of a Worldly Spirit, 274; Thoughts on Time, 275;
The Good Man, 277; Procrastination, 279; Conscience,
280; Conversation, 281; Friendship, 282; Disasters com
THOMSON.-Critical notice, 283; Summer Scene, 283; Win
COLLINS.-Critical Notice, 289; Ode on the Passions, 289.
SHENSTONE.-Critical Notice, 293; The Schoolmistress, 293.
GRAY.-Critical Notice, 299; Elegy in a Country Church-
AKENSIDE.-Critical Notice, 304; Moral Beauty, 304; Plea-
sure derived from Pity and Terror, 305.
GOLDSMITH.-Critical Notice, 306; Village Preacher, 306;
WORDSWORTH. — The Deaf Peasant, 337; Sonnet and
COLERIDGE.-Christabel, 340; Poet in the Clouds, 342.
SOUTHEY.- Approach to Padalon, 343; Plea of an English
CAMPBELL.-Soldier's Dream, 347.
SCOTT.- Battle of Flodden, 348; Death of Marmion, 351;
MOORE.-Youth and Age, 356; Reminiscences, 356; The
Gheber's Bloody Glen, 357; "This World is all a fleet-