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2. Once, when my scanty meal was spread,
He entered—not a word he spake-
I gave him all; he blessed it, brake,
The crust was manna to my taste. 3. I spied him where a fountain burst
Clear from the rock; his strength was gone;
He heard it, saw it hurrying on-
I drank, and never thirsted more.
A winter hurricane aloof;
To bid him welcome to my roof;
In Eden's garden while I dreamed.
I found him by the highway side;
Revived his spirit, and supplied
And peace bound up my broken heart. 6. In prison I saw him next, condemned
To meet a traitor's doom at morn;
And honored him, midst shame and scorn.
But the free spirit cried “I will.” 7. Then in a moment to my view
The stranger started from disguise ;
My Savior stood before my eyes.
LESSON VII.-SCENE BETWEEN BRUTUS AND CASSIUS.
Bru. All this' ? ay', more': Fret till your proud heart break;
Cas. Is it come to this' ?
Cas. You wrong' me every way; you wrong' me, Brutus' :
Bru. If you did', I care not'.
Cas. Do not presume too much upon my love';
Bru. You have done that you should be sorry' for'.
I did send to you
-I had rather coin my heart',
you denied me: Was that done like Cassius'
The eyelids are here closed : a,
upper eyelid ; b, lower eyelid; í, SIDE VIEW OF A VERTICAL SECTION OF THE EYE.
transparent cornea, immediately beneath the eyelid; V, anterior chamber of the aqueous humor; ac, posterior chamber of the aqueous humor; m, the iris, with its circular opening called "the pupil," in the direction toward which v is pointing; t, the crystalline humor or lens; 8, 8, the vitreous humor; e, e, between these passes the optic nerve; 0, 0, the retina, which is an expansion of the optic nerve spreading over the vitreous humor. The retina is considered the inner coat of the eye. Next outward of this is j, ja the choroid coat, of a dark color, and filled with minute branches of blood vessels. Adjoining this
is h, h, the sclerotic coat, or white of the eye, into which the cornea fits like a watch-glass into its case; r, capsular artery.
LESSON 1.—THE WINDOW OF THE SOUL. 1. THE EYE has been appropriately called the “window of the soul.” It opens to us, by its wonderful mechanism, a world of beauty, enabling us to perceive the form, color, size, and position of surrounding objects; and it probably contributes more to the enjoyment and happiness of man than any other of the organs through which mind holds communion with the external world.
2. A general knowledge of its structure and action, as a living instrument of vision, may be gathered from the drawing above, by the aid of a brief description. The eyelids—the shutters to this window—which open and close to admit or exclude the light, stand also as watchful guardians to protect the instrument from danger; and by their involuntary action the hard and transparent cornea at the front of the eye is kept constantly lubricated, and free from dust.
3. Back of this cornea is a chamber containing the aqueous, or watery humor;2 and suspended in this is a circular curtain, the colored iris, which has the power of contracting and dilating, to regulate the quantity of light that enters the round
opening in its centre, called the pupil. Immediately back of the pupil is the crystalline3 lens, composed of numerous layers or coatings, which increase in density toward the centre; an arrangement which prevents that spherical aberration, or too great dispersion of the rays of light, which it has been found so difficult to overcome in artificial lenses. Back of the crystalline lens, and filling a large part of the cavity of the eye, is the vitreous, or glassy humor, and spread over this is the thin and delicate membrane of the retina, 4 which is the expansion of the optic nerve.
4. It is on the retina, where it concentrates at the back part of the ball to form the optic nerve, that the images of objects at which the eye looks, whether near or distant, are beautifully pictured or daguerreotyped. We can not look without wonder
upon the smallness yet correctness of these pictures. Thus a landscape of several miles in extent is brought into the space of a sixpence, yet the objects which it contains are all distinctly portrayed in their relative magnitudes, positions, figures, and colors, with a fineness and delicacy of touch to which art can make no approach.
5. Yet the mechanical part of this apparatus—its beautiful structure, its perfect adaptation to the laws of light, and its ready adjustment to meet the ever-varying degrees of light, and shade, and distance--are far less wonderful than the mental or spiritual part, the manner in which the pictures on the retina are made known to the mind or soul within, through the medium of the optic nerve. The former is a mechanical wonder, of which we comprehend sufficient to excite our unbounded admiration; the latter is a spiritual mystery, of which we know nothing but the bare fact itself.
6. Mr. Addison, in a number of the Spectator, has drawn a much-admired picture of the sense of sight, in the introduction to the first of his celebrated Essays on the Pleasures of the Imagination. We select the opening passages, which Mr. Blair so highly commends for their rhetorical grace and beauty.
7. “Our sight is the most perfect and most delightful of all our senses. It fills the mind with the largest variety of ideas, converses with its objects at the greatest distance, and continues the longest in action without being tired or satiated with its proper enjoyments.
8. “The sense of feeling can indeed give us the idea of extension, figure, and all the other properties of matter which are perceived by the eye except colors; but, at the same time, it is very much straitened and confined in its operations with regard to the number, bulk, and distance of its objects.
9. “Our sight seems designed to supply all these defects, and may be considered as a more delicate and diffusive kind of touch, that spreads it
self over an infinite multitude of bodies, comprehends the largest figures, and brings into our reach some of the most remote parts of the universe.
10. “It is this sense which furnishes the imagination with its ideas : and by the pleasures of the imagination or fancy (terms which I shall use promiscuously) I here mean such as arise from visible objects, either when we nave them actually in our view, or when we call up their ideas in our minds by paintings, statues, descriptions, or other similar means.
11. “We can not, indeed, have a single image in the fancy that did not make its first entrance through the sight; but we have the power of retaining, altering, and compounding those images which we have once received, and of forming them into all the varieties of picture and vision that are most agreeable to the imagination; for, by this faculty, a man in a dungeon is capable of entertaining himself with scenes and landscapes more beautiful than any that can be found in the whole compass of nature.”
LO'-BRI-€Ā-TED, made smooth or slippery 3 Crys'-TAL-LINE, clear; resembling cryst:11. by moisture.
4 RÆT'-I-NA, plural vě:'-i-ne. 3 HO-MOR, ("iū'-mor, or hü'-mor).
LESSON II.—THE LIVING TEMPLE.)
OLIVER WENDELL HOLMES 1. Not in the world of light alone,
Where God has built his blazing thronc'.
From the warm fountains of the heart.
Forever quivering o'er his task,
Creeps back to find the throbbing heart.
Behold the outward moving frame';