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31. Em. Live, live to be a man, and love your mother!
[They embrace. — Albert runs off.]
Why should my heart shrink! 'T is for this we rear them! —
Cherish their tiny limbs, — pine if a thorn
But mar their tender skin, — gather them to us
Closer than miser hugs his bags of gold!
We send them forth into a wintry world
To brave its flaws and tempests! Nestling as
He is, he is the offspring of a bird
That owns no cowering wing!
[Re-enter Albert with a bow and arrows, and a rude target, which he seta up, laying the bow and quiver on the ground.]
What have you there?
32. Alb. My bow and arrow, mother.
33. Em. When will you use them like your father, boy?
34. Alb. Some time, I hope.
35. Em. You boast! There's not an archer In all Helvetia * can compare with him!
36. Alb. But I'm his son; and when I am a man I may be like him. Mother, do I boast
To think I some time may be like my father?
If so, then is it he that teaches me!
For, ever as I wonder at his skill,
He calls me boy, and says I must do more,
Ere I become a man.
37. Em. May you be such
A man as he, — if Heaven wills, better. I 'll
38. Alb. I 'll show you
How I can shoot. [Shoots at the target.] Look, mother! there's
within m An inch!
39. Em. 0 fie! it wants a hand. [Goes out.]
* Hel-ve'ti-a, the Latin.nanie for Switzerland.
40. Alb. A hand's
An inch for me. I 'll hit it yet. Now for it! '[Shoots again.]
[Kilter Tell, watching Albert some time in silence.] I
41. Tell. That's scarce a miss that comes so near the mark!
Well aimed, young archer! With what ease he bends
42. Alb. Ah! My father! [Running to his father.]
43. Em. [Wife of Tell coming from the cottage.] William, welcome!
Welcome, William! I did not look for you till noon, and thought , How long't would be ere noon would come. You 're come! Now this is happiness! Joy's double joy That comes before the time!
44. Tell. You raise the bow
Too fast. [To Albert, who has returned to his practice.] Bring't slowly
to the eye. [Albert shoots.] You've missed! How often have you hit the mark to-day?
45. Alb. Not once yet.
46.' Tell. You 're not steady. I perceived
Stand like the sculptor's statue on the gate
47. Em. William, William! O,
Why speak you not? and wherefore do you sigh?
48. Tell. You've missed again!
Dost see the mark? Rivet your eye to it !• * There let it stick, fast as the arrow would, Could you but send it there.
49. Em. Why, William, don't You answer me? [Albert shoots.]
50. Tell. Again! How would you fare
To fix a single arrow! 'T would not do
Take care! That's Gesler! — Now for liberty!
Right to the tyrant's heart! [Albert shoots ana hlta the mark.] Well
done, my boy!
51. Em. O William! think
How little is that all to him, — too little
For Gesler, sure, to take! Bethink thee, William,
We have no treasure.
52. Tell. Have we not? Have we
No treasure? How! No treasure? What 1
The wearer of it? Emma,' we have that;
53. Em. Then, indeed,
My William, we have much to fear!
54. Tell. We have;
And best it is we know how much. 'Then, Emma,
55. Em. O William!
56. Tell. Emma, let the boy alone;
Don't clasp him so; 't will soften .him. Go, sir,
To-day. Some friend, perchance, may need thy guidance.
Away! [Albert leaves ] He's better from thee, Emma; the time
Is come, a mother on her breast should fold
Her arms, as if they'd done with such endearments,
And bid her children go from her, to hunt
For danger which will presently hunt them
The less to heed it.
57.. Em. William, you are right!
Questions. — Who teas William Tell? 3 -12. What questions did Albert's mother ask him, and what answers did he give? 15 -17. What did they say about content? 18 - 22. What, about his father? Where is Altar/? 26 - 30. What next did they talk about? 31. What were her reflections? 32-40. What did they talk about after Albert returned? Where, and what, is Helvetia? 41. What was Albert doing when his father came up? 44 - 48. What instruction did his father give him? 50. What did he say to him here? 50 - 56. What did Tell fear? 56. Why did he want Albert to leave his mother?
LESSON XC. ^ 0
3 Ca-pm'ciods, difficult to please. 4. Mox-te'ho, riding-cap.
4. Qurr'u-lous, complaining. 5. Cu'li-xa-ry, used in kitchens.
4. Gor'get, defense for the throat. 9. Loi'teb-isg, delaying.
Errors. — Orange for Or'onge; scar'hi t and scar'lit for scar'let; hick"ry for hick'o-ry } punk'in for pamp'kin.
AN AUTUMN SCENE. — Irving.
1. It was a fine autumnal day. The sky was clear and serene; and nature wore that rich and golden livery which we always associate with the idea of abundance. The forests had put on their sober brown and yellow; while some trees, of the tenderer kind, had been nipped, by the frosts, into brilliant dyes of orange, purple, and scarlet.
2. Streaming files of wild ducks began to make their appearance high in the air; the bark of the squirrel might be heard from the groves of beech and hickory; and the pensive whistle of the quail, at intervals, from the neighboring stubblefield.
3. The small birds were taking their farewell banquets. In the fullness of their revelry, they fluttered, chirping and frolicking, from bush to bush, and tree to tree, capricious from the very profusion and variety around them.
4. There was the honest cock-robin, the favorite game of stripling sportsmen, with its loud, querulous note; and the twittering blackbirds flying in sable clouds; and the goldenwinged woodpecker, with his crimson crest, his broad black gorget, and splendid plumage; and the cedar-bird, with its red-tippCd wings and yellow-tipped tail, and its little montero cap of feathers; and the blue jay, that noisy coxcomb, in his gay light-blue coat and white underclothes, screaming and
. chattering, nodding ahd bobbing and bowing, and pretending to be on good terms with every songster of the grove.
5. As Ichabod * jogged slowly on his way, his eye, ever open to every symptom of culinary abundance, ranged with' delight over the treasures of jolly autumn. On all sides ha
* Ichabod, the hero of the story (" Sleepy Hollow ") from which this piece is taken.