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7. Each lock, and ev'ry bolt he tries, |

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8. In ev'ry creek, and corner, pries; |

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9. Then opes his chest with treasure stor'd, |

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10. And stands in rapture o'er his hoard: |

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11. But now with sudden qualms, possest, |

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12. He wrings his hands; he beats his breast

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15. Had the deep earth her stores confin'd, |

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16. This heart had known sweet peace of mind; |

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17.18. But virtue's sold! | Good gods! what price |

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20. O bane of good! seducing cheat! |

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21.22. Can man, weak man, | thy power defeat? |

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25. Gold sow'd the world with ev'ry ill; |

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26. Gold taught the murd'rer's sword to kill: |

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REMARKS ON THE NOTATION OF THE MISER AND PLUtus.

For the convenience of reference, the piece is divided into sections, by vertical bars, and the number of each section is printed in the margin.

(1.) The direction of motion, expressed by the 4th small letter, r, means that from the position in which both hands are presented, vhf, they should move towards the right, and stop at the position, oblique, as noted by q, connected by a dash to the position mentioned. (2.) The 4th small letter, n, signifies noting.

(12.) The posture of the hands is, at first, folded horizontal forwards, as expressed in the notation, ld hf. At the a, connected

by a dash, which signifies ascending, the hands are raised up, and at the next notation, ld br, they are forcibly withdrawn back on the breast.

(21.) This posture begins horizontal, as first noted, Buhf, and ends elevated, B vef; but the B is omitted over the word, weak, being understood by the connecting dash.

(25.) The 3d small letter, relating to the transverse direction of the arm, is often placed alone, but connected by a dash with a preceding set of letters, as already observed. (1.) In such case it is to be understood that the posture of the hands remains as before, and that the transverse direction of the arm only is changed. Here each arm passes through the whole semicircle, from the position across to extended.

The fourth, and the fifth small letter, which relates to the direc tion and manner of motion, are also often separated, in this manner, from the position to which they belong, in order that the place of the motion, or action, may be the more distinctly marked. (See 9,

15 and 20, in which n is thus separated, to point out the particular syllable on which the action of noting falls.)

The action of the hands and arms, at No. 15 and 20, is the same, but the general effect is different, in consequence of the difference in the positions of the feet. In the preparation for these gestures, the palms of both hands are raised so as almost to touch the forehead; then they descend gradually, and when the arms are a little below the horizontal elevation, the wrists make that particular motion called noting, on the respective words, stores and cheat.

(26.) Left foot first position extended. To make this position extended, the left foot is advanced, the body at the same time is thrown back, and sinks a little, bending the right knee.

(28.) This gesture, Bvhf rj, both vertical horizontal forwards rejecting, is thus made: both hands are drawn backwards, nearly to the mouth, in the vertical position; the eyes, at this time, are directed forwards, the hands are then pushed forwards, while the face is averted, and the feet retire, to a greater or less extent, in proportion to the degree of disgust or abhorrence to be expressed.

AN ELEGY WRITTEN IN A COUNTRY CHURCH-YARD.

(GRAY.)

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The curfew tolls-the knell of parting day!

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And leaves the world to darkness, and to me.

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And drowsy tinklings lull the distant folds:

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Of such as, wandering near her secret bower,

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Molest her ancient, solitary reign.

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Beneath those rugged elms, that yew tree's shade,

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Where heaves the turf in many a mould'ring heap,

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The swallow, twitt'ring from the straw-built shed,

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The cock's shrill clarion, or the echoing horn,

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For them no more the blazing hearth shall burn,

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Or climb his knees, the envied kiss to share.

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The short, and simple annals of the poor.

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IX.

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The boast of heraldry, the pomp of pow'r,

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And all that beauty, all that wealth e'er gave,

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Await, alike, the inevitable hour

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The paths of glory lead but to the grave.

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Nor you, ye proud, impute to these the fault,

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Where, thro' the long-drawn aisle, and fretted vault,

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