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jusques dans le ciel meme voyez le Pére éternal versant sur la tête de son fils toutes les phioles de sa colére ; voyez l'enfer de concert avec le ciel, et le ciel avec la


Envisagez-la cette mort par raport aux signes terribles qui l'ont accompagnée; par raport à cette terre qui tremble à ce soleil qui s'obscurcit, a ces pierres qui se fendent, à ces sepulchres qui s'ouvrent, à ces morts qui retournent à la lumiére.

Ramassez tous ces traits, et dites-vous encore la mort de J. C. est tout cela. La mort de Jesus Christ est le corps des figures, l'original des types, la realité des ombres l'accomplissement des oracles. La mort de J. C. est le rendezvous général des fureurs du Toutpuissant où toutes les flêches de sa justice ont été lancées contre une seule personne et toutes les phioles de sa colére versées sur une seule tête. La mort de J. C. est ce grand évenement qui a obscurci le soleil, qui a ouvert les tombeaux, qui a fendu les pierres, qui a fait trembler la terre, qui a bouleversé la nature et les élemens. Vous regrettez le monde. Vous qui devez aller au ciel. Et qu'est ce que le ciel? C'est le prix de cette mort. Celui qui n'a point épargné son fils, mais qui l'a livré pour nous à la mort, ne nous donnerat-il pas toutes choses avec lui. Si le moyen est si grand, quelle doit être la fin ! Si les preparatifs sont si riches, quel sera l'evenement! Si le combat est si rude, quelle sera la victoire! Si le prix est si inestim. able, quel, quel sera le bien acquis à ce prix !

Que regretiez vous ? Vous, regrettez-vous des palais, des sceptres et des couronnes. Vous regretter-vous une houlette que vous portez, une cabane qui vous loge. Vous regrettez-vous une societé, une societé dont les défauts, ou les perfection sont souvent pour vous une sourse égale de miséres. Ah! phantôme de notre cupideté, paroitrez-vous encore à nos yeux, et tien. drez-vous bon encore contre ces biens réels que la mort de J.C. nous acquiert.

La mort n'a donc plus rien de redoutable pour le chretien. Dan le tombeau de J. C. sont dissipées toutes les frayeurs qui se trouvoient dan le tombeau de la nature. Dan le tombeau de la nature, je vois une sombre nuit, à travers laquelle je ne puis percer :

dan le tombeau de J. C. je vois la lumiére et la vie. Dans le tombeau de la nature, je vois les peines de mes crimes : dan le tombeau des J. C. je vois mes crimes expiez. Dans le tombeau de la nature, je vois la triste destination d’Adam et de sa malheureuse postéritétu est poudre et tu retourneras en poudre : dan le tombeau de J.C. j'eclate en actions de graces. Où est, o mort, ta victoire ? Où est, Ô sépulchre, ton aiguillon Graces à Dieu qui nous a donné la victoire par J.C. notre Seigneur.


The best Essay 'on Superstition, by young ladies or gentlemen not 16 years old, will be entitled to a siLVER


ARTICLE V. The best copy of verses, in English, on any subject, by young ladies or gentlemen not 16 years old, will be entitled to a siLVER MEDAL.

ARTICLE VI. The best solutions to the following questions, by any young lady or gentleman not 16 years old, will be entitled to a SILVER MEDAL.

QUESTION 1. By Master R. Fisher, Broughton.

It is required to determine the transverse and conjugate diameters of an ellipse; so that if the transverse had been two chains more, the area would have been increased by four acres; but if the conjugate had been increased by two chains, the area would have been increased five acres.

QUESTION 2. By Master H. Atkin, Sheffield.

In an isosceles triangle two circles are inscribed touching each other and the sides of the triangle; the diameters of the circles are 8 and 12; required the sides of the triangle.

QUESTION 3. By Master W. Balme, Attercliffe.

If the diameter and altitude of the segment of a globe be in the ratio of 3 to 1, and the solid content or capacity, fourteen ale gallons ; required the diameter of the globe of which it is a segment.

Question 4. By Master W. Harrison, Burton Pidsea.

Given the perimeter of an isosceles triangle equal 28, and its area =

37.14655 chains to determine the sides, base, and radius of its inscribed circle.


“ Eheu! fugaces,” &c. Translated by Master J. Owsdul, Markinton, Yorks.

Alas, my friend, I view with tears
The swift, inceasing, lapse of years,

That steal our joys away:
Not all the balm of holy breath,
The blast of age, the stride of death,

One moment can delay.
In vain with flow'rs the votive urn
We deck, and sacrifices burn,

To bribe hell's potent lord :
The king who rules his proud domains,
Princes and beggars, lords and swains,

Must pass the Stygian ford.
What though we 'scape the dang’rous war,
The fearful storm, and ocean's roar

At distance we defy :
And heedful of life's rapid waste,
Cautious we shuv the southern blast,

And each tempestuous sky;
Yet must we pass that sullen wave,
Whose waters hell's dominions lave,

And visit Pluto's throne;
Where stands remorse with threat’ning dart,
Th’insatiate vulture gnaws the heart;

Still rolls the restless stone..

Thy cot be left, each joy of life,
Thy cherub offspring, lovely wife;

Ănd o’er thy timeless grave,
Of all the groves thy hand hath sown,
The hated cypress tree alone

Her fun’ral boughs shall wave.
Thy hall adorn’d with nice design
Shall be thy heir's—thy well-storid wine

Shall tinge the marble floor;
And mid the sound of harmony,
Amid the shouts of revelry,

Thy name be heard no more.

ON THEMES. The following rules for writing English Themes, selected from Walker's little work on that subject, are respectfully offered to the attention of our juvenile friends. A Theme is the proving of some truth. After the theme or truth is laid down, the proof consists of the following parts:

1. The PROPOSITION, or narrative; where we show the meaning of the theme, by amplifying, paraphrasing, or explaining it more at large.

2. The REASON ; where we prove the truth of the Theme, by some reason or argument.

3. The confiRMATION; where we show the unreasonableness of the contrary opinion; or, if we cannot do that, we try to bring some other reason in support of the former.

4. The simile ; where we bring in something in nature or art similar to what is affirmed in our Theme, for illustrating the truth of it.

5. The ExAMPLE; where we bring instances from history to corroborate the truth of our Theme.

6. The TESTIMONY, or quotation; where we bring in proverbial sentences, or passages from good authors, . which show that others think as we do.

7. The CONCLUSION; where we sum up the whole, and show the practical use of the Theme, by concluding with some pertinent observations.

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miscellaneous Correspondence,






(Continued from rol. i. p. 236.) To this most ancient part of the city the Romans made an addition southward upon the declivity of the

“ Below Class Gate a great part of the old Roman wall is left, made of stones piled sideways, first with one direction, then with another, as was a common method with them: one piece of it is now eighty feet long, eighteen high ; a little bit of it lower down is twelve feet long, and as many high: between that gate, upwards, and the old city-wall, by the Greestone stairs *, is the old ditch to be seen, much talked of, but not understood; it is called Were-dyke. The people have a notion that the river came up here, and that these stairs were a landing-place from the waterside, and denominated from I know not what Grecian traders t.”

Two more great additions were made to this city, the first northward above the hill called Newport, or the new city, probably in the time of the Saxons, and the latter by the Normans, who made a new cut called Sinsil Dyke, on the south and east side, for its further security.

“ In this last part of the city, on both sides the Roman road, were many funeral monuments of the old Romans; some of which they now dig up, and, doubtless, many more, when they first built upon this ground.

* “ The meaning of Grecian stairs I suppose borrowed from the Normans, importing only stone steps (grees) as they appear at this day, a commodious descent from the Minster Yard." Stukely's Itinerarium, vol. i. page 1.

† Stukely's Itinerarium Curiosum, vol. i. page 90.

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